In this exemplary recording of six Bach motets Philippe Herreweghe leads Collegium Vocale Ghent (an ensemble that includes both singers and instrumentalists) and ten soloists in performances of exceptional finesse and elegance. That's no easy task given the dense contrapuntal textures that characterizes several of the motets written for double chorus and orchestra. It takes great skill to keep the music, in a movement like the opening to "Singet dem Herr ein neues Lied," from turning into a murky undifferentiated stew of busyness, but Herreweghe keeps the sound open and varied.

Shortly after Rahsaan Roland Kirk finished his first album for Warner Brothers, he suffered a major stroke that put him out of action and greatly shortened his life. His second LP for the label was actually comprised of leftovers from the earlier session plus three songs taken from an appearance at the Montreux Jazz Festival; the latter has been reissued on CD in a sampler but the other selections (which include "Serenade to a Cuckoo," his cover of "This Masquerade," "Sugar," "The Christmas Song" and "Bright Moments") remain out of print.

When the composer Tim Norell decided to move, the house in which he lived for many years, was sold, and he had to collect and pack all things for the move. But suddenly in the attic he found a box in which cassettes were neatly stacked, and then Tim remembered what it was. Unpublished songs written in the 80s.

Recorded in 1973, this is yet another criminally underappreciated Rahsaan Roland Kirk recording from the last phase of a remarkable career. This is perhaps Kirk's most experimental recording in that it involves his most involved performing on multiple horns and flutes including his infamous and wonderful nose flute and working with drones on a more surface level. Given Kirk's system of playing three horns at once, the drone horn was always a part of his sonic architecture.

„Capping off a string of early-'70s hits with this album's title track, Roberta Flack would soon take a sabbatical from the spotlight in 1975. And while she would return to the stage and studio, Flack never quite hit the heights of this and the handful of other MOR soul releases from the first half of the decade. Her Carole King-meets-Gladys Knight sound is particularly impressive on highlights like 'Mr. Magic' and 'Feelin' That Glow.'

One of the greatest albums by this funky Latin combo! The record differs from some of their earlier Prestige albums in that the tracks are longer, more instrumental, and have a hard fuzzy electric groove. The band jams hard in a way that's more like some of the funk combos of the early 70s, than the Latin groups from which they came – and that's no problem by us, because the results are wonderful! Includes two funky numbers written by Sonny Phillips – "The Spokerman" and "Jamilah" – plus a great extended cover of "Cloud Nine".

The late French pop legend created one of the first ethno pop albums with this 1964 record, which employed heavy North African and Caribbean rhythms in the pop and jazz structures of his songs. Extraordinarily inventive in the canon of '60s Europop, Serge Gainsbourg remains the godfather of exotica and French pop decadence. Among his mid-'60s recordings, Gainsbourg Percussions is essential Gainsbourg, enhanced by Alain Goraguer's arrangements. The album contains the hit song "New York-USA" and nine of the tracks from this album appear on the compilation Couleur Café, which is a blessing considering the original version of this fantastic LP could be a little hard to track down.

The sequence of brilliant, if somewhat unconventional, concept albums which occupied Serge Gainsbourg through the early to mid-'70s continues with an album which can be (and indeed has been) described as either a European reclamation of the pop potential of the Third Reich, following the success of Mel Brooks' The Producers, or an acerbic reclamation of a Jew's own humanity 30 years after the Nazis forced him to walk the streets in a bright yellow star.

Serge and Bardot Together on this Great High-Res-Reissue. First time available in 24bit high-resolution audio. Digitally Remastered from the original analog mastertapes.

The third album from one of the most exciting young European bands, “Llyrìa” follows on from “Stoa” and “Holon”, the recordings that established the Swiss band Ronin on the international scene. Leader Nik Bärtsch’s “modular” pieces still define the context of the group’s music but the committed input of the individual Ronin members has lifted the work to the next level, blurring the distinctions between composition, improvisation and interpretation.

John Paesano is an American film and television composer known for Marvel series such as Daredevil and The Defenders, and films including The Maze Runner franchise. In anticipation of the worldwide release of Sony Pictures Animation’s animated motion picture The Star, in theaters November 17, 2017, Epic Records and Sony Pictures Animation will release The Star: Original Motion Picture Soundtrack.

„Root Down“ is a 1972 live jazz album by Jimmy Smith, released on the Verve label. It was recorded in Los Angeles on February 8, 1972. It includes the song 'Root Down (And Get It)' which was sampled by the Beastie Boys for their song 'Root Down.' Toward the end of his stint with Blue Note, Jimmy Smith's albums became predictable. Moving to Verve in the mid-'60s helped matters considerably, since he started playing with new musicians (most notably nice duets with Wes Montgomery) and new settings, but he never really got loose, as he did on select early Blue Note sessions.

It was an eminently sensible decision to couple Zimerman's previously separate Chopin concertos on a single CD. The Ax/Ormandy/RCA disc is the only rival as a coupling, so let me say at once that in different moods I would be equally happy with either.

For Bill Evans' second solo record of unaccompanied but overdubbed piano solos, he decided to simplify the concept used in Conversations with Myself (which had him playing three pianos) by only playing two this time. The program is brief, but Evans plays quite well throughout. In particular, his versions of Johnny Mandel's "Emily" and "Santa Claus Is Coming to Town" are most memorable. A thoughtful and (despite the overdubbing) spontaneous-sounding set of melodic music.

"Low-Life" is the third studio album by English rock band New Order. Released in May 1985 by Factory Records, "Low-Life" is considered to be among New Order's strongest work, displaying the moment at which the band completed its transformation from post-punk hold-overs to dance rockers. The album shows New Order's increased incorporation of synthesizers and samplers, while still preserving the rock elements of their earlier work. The original Factory release (Japan and UK) CD versions of this album are mastered with pre-emphasis. The songs on this album formed the basis of the band's live concert video, Pumped Full of Drugs, filmed in Tokyo shortly before the album's release.